50 years of Sholay: Mausi, Radha, Basanti and the stalled progress of the Hindi film heroine

Indian Express

4 days ago

When I revisited Sholay recently, I decided to watch it from a woman's perspective — especially since it's often described as 'progressive for its time' when it comes to female characters. Yes, it gave women screen time, independence, and personalities beyond the decorative. But look closer, and the three women in the film read like three generations of Indian womanhood — and a reminder of how far, or how little, we have progressed since.
Mausi (Leela Mishra) is the gatekeeper of society's moral compass — orthodox, rooted in tradition, the unquestioned spokesperson for ghar-khandaan culture. Marriage without pedigree? Unthinkable. When Jai approaches her about Veeru and Basanti's marriage, she fires off: 'Bura mat manna par itna toh puchna hi padta hai ki ladke ka khandaan kya hai, lakshan kaise hai, aur kamata kaisa hai?' Sholay released just 28 years after Independence; India was still a country in transition. Salim–Javed likely used Mausi to mirror the dominant mindset of the time — a majority clinging to societal rules over personal choice.
Radha (Jaya Bachchan) is the silent sufferer — the widow who loses not only her husband but her voice. She spends the film in quiet grief, her choices made for her by her father-in-law. She represents those — largely women, but also some men — who choose pain over conflict. Better to suffer quietly and maintain 'respectability' than risk upsetting the social balance.
Basanti (Hema Malini) bursts onto the screen — loud, cheerful, unapologetic. She drives a tonga, speaks her mind, and works for a living — unheard of in a time when ghar ki izzat often meant women should be seen, not heard. She's the future, the hope that girls could step outside the home and live life on their terms. But here's the catch: for all her independence, Basanti's function in the plot is limited to being Veeru's love interest. Her 'heroic' act is dancing for Gabbar to save Veeru's life — a noble gesture, yes, but far from saving herself when Gabbar's men attack her or strategising against the villain who has long terrorised her village.
That could have been Bollywood's turning point. Salim-Javed had handed over a heroine with wit, charm, and self-reliance — why not build on that? Instead, decades of cinema took the opposite route: more glamour, less agency.
ALSO READ | How Malegaon Ke Sholay's crew of locals changed the way the iconic Dharmendra-Amitabh-starrer is seen
Look at the biggest blockbusters post-Sholay: Ram Teri Ganga Maili (1985), Mr. India (1987), Coolie (1983), Chandni (1989), DDLJ (1995), Hum Aapke Hain Koun (1994), Kuch Kuch Hota Hai (1998), Darr (1993), Kal Ho Naa Ho (2003), 3 Idiots (2009), Kabhi Khushi Kabhie Gham (2001). Whether modern or traditional, the heroines are still orbiting the hero — the prize, the cheerleader, the moral compass.
And in 2025, the problem has evolved into something worse — objectification packaged as comedy or 'mass appeal.' Take Son of Sardaar 2: Mrunal Thakur's denim pants are hacked into shorts, her shirt's buttons popped open — not to serve the plot, but to 'sex up' her character so she can seduce Ajay Devgn into a plan to trick Ravi Kishan into marrying his son to her niece. It's not about intelligence or skill — just appearance. Housefull 5 offers the same recycled objectification, dressing it up as entertainment.
Of course, there are exceptions — Fire (1996), Kahaani (2012), Queen (2013), Tumhari Sulu (2017), Gangubai Kathiawadi (2022) — where women drove the narrative, made decisions, and had true authority. But they remain rare.
ALSO READ | Past Melodies: A look-back at the music of Sholay and what continues to make it timeless
The irony? A 1975 blockbuster planted the seed for an empowered female lead, and fifty years later we still haven't let her grow. If filmmakers are serious about creating 'strong women,' they must go beyond giving them glamorous wardrobes and a few witty lines. Let her into the war room. Let her call the shots. Let her make the mistakes, set the traps, and deliver the final blow.
Because Basanti could talk non-stop — but imagine if she also had the last word in Gabbar's defeat. Imagine if Radha had taken her revenge while Sanjeev Kumar's Thakur quietly stood by. And Mausi advocated for love over khandaan as a must for marriage. Now that would have been truly ahead of its time.